J[A-Z]Z / p1ck ( Tension | Albert Mangelsdorff Quintet, 1963

Design  – Günther Kieser

Albert Mangelsdorff Quintet, Blues Du Domicile, 1963


Recorded July 8 and 11, 1963 at Walldorf Tonstudio, Frankfurt. 


Günther Kronberg - alto & baritone saxophone 
Günter Lenz - bass 
Rolf Hübner - drums
Heinz Sauer - tenor saxophone  
Albert Mangelsdorff - trombone  

A Late Walk | Robert Frost, 1915

Kōgyo Tsukioka (1869-1927)


When I go up through the mowing field,
The headless aftermath,
Smooth-laid like thatch with the heavy dew,
Half closes the garden path.

And when I come to the garden ground,
The whir of sober birds
Up from the tangle of withered weeds
Is sadder than any words

A tree beside the wall stands bare,
But a leaf that lingered brown,
Disturbed, I doubt not, by my thought,
Comes softly rattling down.

I end not far from my going forth
By picking the faded blue
Of the last remaining aster flower
To carry again to you.

Robert Frost, A Late Walk, 1915
(A Boy's Will)



Also:


The Book & the Movie: The Turn of the Screw | Henry James, 1898 / The Innocents | Jack Clayton, 1961

                   First page of the 12-part serialisation of The Turn of the Screw                    Young Henry James (1843-1916)
                   by Henry James in Collier’s Weekly (1898)


“He was there or was not there: not there if I didn't see him.”

“I was a screen-- I was their protector. The more I saw, the less they would.”

“No, no—there are depths, depths! The more I go over it, the more I see in it, and the more
I see in it, the more I fear. I don’t know what I don’t see—what I don’t fear!”


Jack Clayton, The Innocents, 1961

“Of course I was under the spell, and the wonderful part is that, even at the time, I perfectly
knew I was. But I gave myself up to it; it was an antidote to any pain, and I had
more pains than one.”

“—his indescribable little air of knowing nothing in the world but love.”

“The summer had turned, the summer had gone; the autumn had dropped upon Bly and had
blown out half our lights. The place, with its gray sky and withered garlands, its bared
spaces and scattered dead leaves, was like a theater after the performance--all strewn
with crumpled playbills.”

Henry James, The Turn of the Screw, 1898


Jack Clayton, The Innocents, 1961

“We were alone with the quiet day, and his little heart, dispossessed, had stopped.”

“Make (the reader) think the evil, make him think it for himself, and you are released from
weak specifications. My values are positively all blanks, save so far as an excited horror,
a promoted pity, a created expertness... proceed to read into them more or less fantastic
figures.”

“To gaze into the depths of blue of the child's eyes and pronounce their loveliness a
trick of premature cunning was to be guilty of a cynicism in preference to which I
naturally preferred to abjure my judgment and, so far as might be, my agitation.”

Henry James, The Turn of the Screw, 1898


Jack Clayton, The Innocents, 1961

“I take up my own pen again - the pen of all my old unforgettable efforts and sacred
struggles. To myself - today - I need say no more. Large and full and high the future
still opens. It is now indeed that I may do the work of my life. And I will.”

“There was nothing in the room the next minute but the sunshine and a sense that I must stay.”

“The terrace and the whole place, the lawn and the garden beyond it, all I could see
of the park, were empty with a great emptiness.”

Henry James, The Turn of the Screw, 1898

Deborah Kerr and Pamela Franklin in “The Innocents,” 1961. Director: Jack Clayton

“...he uttered the cry of a creature hurled over an abyss...”

“I call it relief, though it was only the relief that a snap brings to a strain or the burst of
 a thunderstorm to a day of suffocation. It was at least change, and it came with a rush.”

“It may be, of course, above all, that what suddenly broke into this gives the previous time
a charm of stillness—that hush in which something gathers or crouches. The change was
actually like the spring of a beast.”

Henry James, The Turn of the Screw, 1898

Jack Clayton, The Innocents, 1961

“I seemed to float not into clearness, but into a darker obscure, and within a minute there had
come to me out of my very pity the appalling alarm of his perhaps being innocent. It was for
the instant confounding and bottomless, for if he were innocent, what then on earth was I?”

“I had the view of a castle of romance inhabited by a rosy spirit, such a place as would
somehow, for diversion of the young idea, take all colour out of story-books and fairy-tales.
Was n't it just a story-book over which I had fallen a-doze and a-dream?”

“I could only get on at all by taking "nature" into my confidence and my account, by
treating my monstrous ordeal as a push in a direction unusual, of course, and unpleasant,
but demanding, after all, for a fair front, only another turn of the screw of ordinary
human virtue.”

Henry James, The Turn of the Screw, 1898


The Innocents (1961)
Director: Jack Clayton
Writers: Henry James (based on the story "The Turn of the Screw")
John Mortimer, William Archibald, Truman Capote
Cinematography: Freddie Francis
Stars: Deborah Kerr, Peter Wyngarde, Megs Jenkins


The film opens with a creepy song written by Paul Dehn and Georges Auric
sung over a black screen for about forty-five seconds before the
Twentieth Century Fox logo appears.



* Deborah Kerr always regarded this as her finest performance.

** François Truffaut regarded this as the best British movie since Sir Alfred Hitchcock
had left for America.

On the set of Jack Clayton’s The Innocents (1961)


Also:

Japanese Bookplates | Ex libris woodcuts | Umetaro Azechi, 1964-1972

 Umetaro Azechi, Unknown year                                             Umetaro Azechi, Unknown year  
Umetaro Azechi,1969                                       Umetaro Azechi, Unknown year
Umetaro Azechi, 1964                                                           Umetaro Azechi, 1972
Umetaro Azechi,1966                                               Umetaro Azechi, 1965
Umetaro Azechi, 1970                                          Umetaro Azechi, 1967
            Umetaro Azechi, 1968                                                 Umetaro Azechi, Unknown year


Umetaro Azechi ( 1902 –  1999) was a Japanese printmaker and mountain climber.


Also:


Education / Neoliberalism / Propaganda / Discovery | Noam Chomsky

 Noam Chomsky


“Discovery is the ability to be puzzled by simple things.” 

“Don't be obsessed with tactics but with purpose. Tactics have a half life.” 

“Historical amnesia is a dangerous phenomenon not only because it undermines moral and
 intellectual integrity but also because it lays the groundwork for crimes that still lie ahead.” 

“The whole educational and professional training system is a very elaborate filter, which just weeds
 out people who are too independent, and who think for themselves, and who don't know how to be
 submissive, and so on -- because they're dysfunctional to the institutions.” 

“Education is a system of imposed ignorance.” 

“That is the nature of being well educated. It is to accept
the framework of power and not question it.” 

“Education doesn't determine how you earn, education determines how you spend.” 

“Choice of sources can shield extreme bias behind a façade of objectivity.” 

“There's an awful lot you can find in the press. If you do what you really ought to do, start
by reading every article from the end, back to the front; most of the lies are up in the front.
 Turns out there's a lot of stuff back there.”

“The more you can increase fear of drugs, crime, welfare mothers,
immigrants and aliens, the more you control all of the people.” 

 “All over the place, from the popular culture to the propaganda system, there is constant
pressure to make people feel that they are helpless, that the only role they can have
is to ratify decisions and to consume.” 

“The smart way to keep people passive and obedient is to strictly limit the spectrum
of acceptable opinion, but allow very lively debate within that spectrum....” 

“How it is we have so much information, but know so little?” 

“Either you repeat the same conventional doctrines everybody is saying,
or else you say something true, and it will sound like it's from Neptune.”

“That's the whole point of good propaganda. You want to create a slogan that nobody's
going to be against, and everybody's going to be for. Nobody knows what it means,
 because it doesn't mean anything.” 

“See, people with power understand exactly one thing: violence.”

“Propaganda is to a democracy what the bludgeon is to a totalitarian state.” 

“It is important to bear in mind that political campaigns are designed
by the same people who sell toothpaste and cars.” 

“The very design of neoliberal principles is a direct attack on democracy.” 

“As in the past, the costs and risks of the coming phases of the industrial
economy were to be socialized, with eventual profits privatized.” 

“In every modern economy, the taxpayers are made to subsidize the private
corporations, who then keep the profits for themselves.”

“Earlier in the twentieth century some critics called fascism “capitalism with the gloves off,”
 meaning that fascism was pure capitalism without democratic rights and organizations.”

“Neoliberalism works best when there is formal electoral democracy, but when the population
 is diverted from the information, access, and public forums necessary for meaningful
participation in decision making.” 

“Neoliberal democracy. Instead of citizens, it produces consumers. Instead of communities,
 it produces shopping malls. The net result is an atomized society of disengaged individuals
 who feel demoralized and socially powerless.” 

“When you trap people in a system of debt, they can’t afford the time to think. ” 

“The beauty of our system is that it isolates everybody. Each person is sitting alone in front
of the tube, you know. It's very hard to have ideas or thoughts under those circumstances.
You can't fight the world alone.”

“As long as the general population is passive, apathetic, diverted to consumerism or hatred
of the vulnerable, then the powerful can do as they please, and those who survive will
be left to contemplate the outcome.” 

“If you want to traumatize people, treason trials are an extreme way—if there are spies
running around in our midst, then we’re really in trouble, we’d better just listen to
the government and stop thinking.”  

“It's nice to have the laws, but it's nice partly because it makes it easier to struggle for your
rights-it's not that the laws give you the rights. Laws can be on the books and mean
absolutely nothing” 

 Noam Chomsky

“If a man acts in a purely mechanical way, reacting to external demands or instruction rather
than in ways determined by his own interests and energies and power, “we may admire
what he does, but we despise what he is.” 

“If you have a political movement that's strong enough that the power structure has to
accommodate it, it'll get accommodated in some fashion-as in the case of union
organizing rights here, the Wagner Act. But when that movement stops being active
and challenging, those rights just aren't going to matter very much anymore.” 

“The sign of a truly totalitarian culture is that important truths simply lack cognitive meaning
and are interpretable only at the level of ‘Fuck You’, so they can then elicit a perfectly
predictable torrent of abuse in response. We’ve long ago reached that level.” 

“Though of course the weak would have to be insane to implement their rights” 

“Truisms at least have the merit of being true, which distinguishes them from
a good deal of political discourse.” 

“It's very important for institutions of concentrated power to keep people alone and isolated:
that way they're ineffective, they can't defend themselves against indoctrination, they
can't even figure out what they think.” 

“There is no sensible way to invoke functional notions as explanatory
concepts at the synchronic or ontogenetic level.”

“Religion is based on the idea that God is an imbecile.” 

“The Bible is probably the most genocidal book in the literary canon.”

“It is quite possible--overwhelmingly probable, one might guess--that we will always learn
 more about human life and personality from novels than from scientific psychology” 

“We shouldn't be looking for heroes, we should be looking for good ideas.” 

“If it's wrong when they do it, it's wrong when we do it.” 

“You don't get to be a respected intellectual by uttering truisms in monosyllables.”

“The role of intellectuals and radical activists, then, must be to assess and evaluate,
to attempt to persuade, to organize, but not to seize power and rule” 

“Civil society is hardly more than a conspiracy by the rich to guarantee their plunder.” 

“You cannot control your own population by force, but it can be distracted by consumption.” 

“It doesn't matter what we cover, it matters what you discover”


Noam Chomsky

(b. 1928)  linguist, philosopher, cognitive scientist, historian, social critic, and political activist. 


Revolt | Leonor Fini, 1907-1996

Leonor Fini, Paris, 1938 
Anonymous, Courtesy of Leonor Fini Estate


"I always imagined I would have a life very different from the one that was 
imagined for me, but I understood from a very early time that I would have 
to revolt in order to make that life. Now I am convinced that in any 
creativity there exists this element of revolt."

Leonor Fini, 1907-1996

Leonor Fini (1907 – 1996) was an Argentine surrealist painter, designer, illustrator, and author.


Also:

For Mac | Jack Spicer, 1925-1965

Max Dupain, Starfish in Rockpool, Toowoon Bay, 1986


A dead starfish on a beach
He has five branches
Representing the five senses
Representing the jokes we did not tell each other
Call the earth flat
Call other people human
But let this creature lie
Flat upon our senses
Like a love
Prefigured in the sea
That died.
And went to water
All the oceans
Of emotion. All the oceans of emotion
Are full of such fish
Why
Is this dead one of such importance?    
Died 
With blue of heart's blood, the brown 
Of unknowing
The purple of unimportance
It lies upon our beach to be crowned. 
Purple 
Starfish are 
And love. And love
Is like nothing I can imagine.


For Mac,  Jack Spicer, 1925-1965


Collages | Kurt Schwitters (1922 - 1947)

 Kurt Schwitters, Agfa-Filmpack, 1925                                                           Kurt Schwitters, 1921
Kurt Schwitters, Elikan, 1925 
Kurt Schwitters, MZ 491, 1922                                                       Kurt Schwitters, MZ 430, 1922
Kurt Schwitters, Merz 231 Miss Blanche, 1923

 Kurt Schwitters, Hey Valentine, 1947                                                Kurt Schwitters, Mz x 21 Street, 1947
Kurt Schwitters, Cam 20S 20 Ore, 1936
Kurt Schwitters, Untitled, 1930                                                      Kurt Schwitters, Two Yellow Spots, 1947
Kurt Schwitters, Mz 30,3, 1930
Kurt Schwitters, für Herrn Dr. Bode, 1924                                                  Kurt Schwitters, 1930


Also:


Ιnner Βeauty | Wassily Kandinsky, 1910

Gabriele Munter, Portrait Of Wassily Kandinsky, 1906


“To those that are not accustomed to it the inner beauty appears as ugliness 
because humanity in general inclines to the outer and knows nothing of the inner.” 

Wassily Kandinsky, Concerning the Spiritual in Art, 1910

Also:


Book//mark - Springtime in a Broken Mirror | Mario Benedetti, 1982

Mario Benedetti, Primavera con una esquina rota, 1982                                                                    Mario Benedetti (1920-2009)


’Tonight I am alone. [...] I can think more clearly. I don’t have to screen myself off to think of you.
 You’ll say that four years, five months and fourteen days is too long to spend just thinking things 
over. And you’re right. But it’s not too long to spend thinking of you. The moon is shining, and 
I’m making the most of it, writing to you. It’s like a balm, the moon, it always calms me. And 
its light, however faint, shines on the paper, which is important because at this time of night 
they cut off the electricity. I didn’t even have moonlight, though, for the first two years, so 
I’m not complaining. As Aesop concluded, there’s always someone worse off than you.’’

''Human beings are strange creatures when condemned to their own solitude, or when punishment
 consists in bringing them face to face with the loneliness of one, two or three of their fellows, 
when none of them ever chose to be in such close proximity. i don't believe (not even after
 these recent harsh years) what that gloomy existentialist said about hell being other people, 
but i will admit that often other people are not exactly heaven.''

''It's thortum now where my dad is, and he wrote that he's very happy because 
the dry leaves float in through the bars and he imagines they're letters from me.''

''Because nobody knows who they really are, how flammable or fire-resistant they are, 
until they've been through the fire.'' '

“Amnesty is when one pardons the penitent. For example if I come home with dirty clothes, 
I will lose dessert for a week. But if I behave well and for three days in a row my arithmetic
 marks are excellent, I get amnesty and can have ice cream for dessert.”

''I feel happy, and yet i'm not happy. i never imagined that to feel happy 
would contain so much sadness.''

‘’A life without phantoms isn’t good, a life where all presences are of flesh and blood.’’

''Obviously, once this is over, when it's all done with and you become conscious of having 
survived it all, you must be left with a crumb of dignity, but also a permanent deposit of 
rancour. which will never go away, even if the future brings you security, trust, love and 
a safe path forward. a deposit of rancour that can rot and spread and even contaminate that 
trust and love, that onward path, all of which could intertwine with more than one individual 
future. in other words, those ruthless jailers, those experts in cruelty, those loathsome cannibals, 
those hierophants of the sacred order of the trap, are guilty not only in the present; their guilt will
 carry far into the future. not only are they responsible for every single iniquity, or for the sum of
 those iniquities; they are responsible, also, for having undermined the time honoured foundations
 of a solid society. when they torture a person, kill him or not, they are also tormenting (even though
 they don't lock them up, even if they just leave them defenceless and bewildered in their ravaged
 homes) that person's wife, his parents, his children, damaging all of their relationships. when they 
crush a revolutionary (as in the case of Santiago) and force his family into exile, they tear time to
 shreds; distorting the history of that branch of the tree, that small clan. to regroup in exile is not, 
as is so often said, to wipe the slate clean, to start the count again from zero. you start from 
minus four, or minus twenty, or minus a hundred.''


Mario Benedetti, Primavera con una esquina rota, 1982
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